DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages ma y have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts ma y not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material m a y have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35 m m slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 3 5 m m slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. 8625223 Grupenhoff, Richard L. WHATEVER THE OCCASION DEMANDS: THE STAGE AND SCREEN CAREER OF LORENZO TUCKER, "THE COLORED VALENTINO" The Ohio State University Ph.D. 1986 University Microfilms International300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1986 by Grupenhoff, Richard L. All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified herewith a checkV mark . 1. Glossy photographs or pages / 2. Colored illustrations, paper or print______ 3. Photographs with dark background t / 4. Illustrations are poor copy_______ 5. Pages with black marks, not original copy______ 6. Print shows through as there is text on both sides of page_______ 7. Indistinct, broken or small print on several pages_______ 8. Print exceeds margin requirements______ 9. Tightly bound copy with print lost in spine_______ 10. Computer printout pages with indistinct print______ 11. Page(s)____________lacking when material received, and not available from school or author. 12. Page(s)____________seem to be missing in numbering only as text follows. 13. Two pages numbered . Text follows. 14. Curling and wrinkled pages_______ 15. Dissertation contains pages with print at a slant, filmed as received_________ 16. Other________________________________________________________________________ University Microfilms International WHATEVER THE OCCASION DEMANDS: THE STAGE AND SCREEN CAREER OF LORENZO TUCKER, "THE COLORED VALENTINO" DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Richard L. Grupenhoff, B.S., M.A. ***** The Ohio State University 1986 Reading Committee: Approved By Professor Alan Woods Professor Roy Bowen Professor George Crepeau Professor Clay Lowe Advisor Department of Theatre Copyright by Richard L. Grupenhoff For Lorenzo Tucker ACKNOWLEDGMENTS I wish to thank all those who have given me their support during this undertaking. My sincere appreciation goes to my advisor, Dr. Alan Woods, for his guidance and suggestions throughout my research, and to the other members of my reading committee, Drs. Roy Bowen, George Crepeau and Clay Lowe for their comments and support. My gratitude also goes to Ms. Kathy Loughney of the Motion Picture Division of the Library of Congress for her valuable assistance. I also thank my colleagues Drs. E. Michael Desilets and J. Denis Mercier for their critiques of the developing manuscript, and Cheryl Belfiglio and Pam Spencer for their help in preparing the text. Finally, I should thank my sons, Richard and James, and my wife, Carolyn, for their encouragement and faith in this endeavor. VITA September 2, 1 9 4 1 ................Born - Cincinnati, Ohio 1966 ............................. B.S. (English), Xavier University Cincinnati, Ohio 1968 ............................. M.A. (American Studies), Purdue University, W. Lafayette, Indiana 1968-1970 .... ................ N.D.E.A. Graduate Fellow, The Ohio State University, Columbus, Ohio 1970-1971 ......................... Schubert Playwrighting Fellow, The Ohio State University, Columbus, Ohio 1971-1972 ......................... Graduate Assistant, The Ohio State University, Columbus, Ohio 1975-1986 ......................... Assistant Professor (Communications) Glassboro State College, Glassboro, New Jersey PUBLICATIONS "The Lord Mayors' Shows: From Their Origins to 1640." Theatre Studies 18 (1971/72): 13-22. FIELDS OF STUDY Major Field: Theatre Studies in Theatre History and Criticism. Professor Alan Woods. Studies in Acting and Directing, and Experimental Theatre. Professor Roy Bowen. Studies in Dramatic Literature. Professor George Crepeau. Studies in Film Theory and History. Professor Clay Lowe. iv TABLE OF CONTENTS DEDICATION ................................... ii ACKNOWLEDGMENTS .................................................... iii VITA ................................................................. iv LIST OF PLATES ............................. vii CHAPTER PAGE I. INTRODUCTION ................................................ I Purpose of the Study .................................. 1 Sources and Methods .................................. 5 Evidence and Scholarship ............................. 10 II. EARLY YEARS, 1907-1926 19 Childhood and Early Education ................ • • • 19 High School and College D a y s ......................... 31 Atlantic City, 1926 35 III. APPRENTICESHIP, 1926-1927 42 Entering the Black Theatrical Tradition ........... 42 From Baltimore to New Y o r k ........................... 50 IV. THE EARLY FILMS OF LORENZO T U C K E R ........................ 67 Black Images in White F i l m s ......................... 67 The Rise of Race M o v i e s ........... 70 Oscar Micheaux ........... 74 "The Colored Valentino" ............................. 79 Light Skin in Black F i l m s ........................... 88 Working with Micheaux ................................ 97 Other F i l m s ........................................... 107 v V. FROM HARLEM TO BROADWAY ................................... 113 The Harlem Renaissance ............................... 113 On the R o a d ...................... 115 Broadway Years ............... 120 The End of an E r a ............................ 131 VI. MIDDLE YEARS, 1933-1962 ................................... 135 Depression D a y s ............... 135 Pre-War Years ........................................ 141 The War Y e a r s ........................................ 148 Post-War Years ........................................ 153 On the Road A g a i n .................................... 161 VII. LATER YEARS, 1962-1986 . 159 Black Film and Theatre in Transition ................ jgg "Doctor" T u c k e r ............. jjg Witness and Historian ............................... ^yy Show Business A g a i n ................................. j q q VIII. SUMMARY ... 186 APPENDIX: THE FILMOGRAPHY OF LORENZO TUCKER .................... 192 BIBLIOGRAPHY ........................................................ 193 vi LIST OF PLATES* PLATE PAGE I. John Tucker (c. 1867-1913) .................................. 22 II. Virginia Lee Tucker (c. 1880-1963) ......................... 24 III. Lorenzo Tucker, 1908 ......................................... 25 IV. Lorenzo Tucker, c. 1927 61 V. Rae Hewitt, c. 1935 62 VI. Lobby poster from Oscar Micheaux's Wages of Sin (1928) . 83 VII. Production still from Oscar Micheaux's When Men Betray ( 1 9 2 9 ) ........................................................ 84 VIII. Production program from Oscar Micheaux's A Daughter of the Congo (1930) ............................................. 91 IX. Lobby poster from Oscar Micheaux's The Exile (1931) .. 95 X. Production still from Oscar Micheaux's Harlem After Midnight (1934) 104 XI. Production still from Oscar Micheaux's Harlem After Midnight (1934) 105 XII. Production program from Oscar Micheaux's Harlem After Midnight (1934) 106 XIII. Production still from Southland Pictures' The Black King (1932) ................................................. 108 XIV. Lobby poster from Southland Pictures' The Black King ( 1 9 3 2 ) ........................................................ 109 XV. Production still probably from Oscar Micheaux's Temptation (1936) 138 * All photographs from the Lorenzo Tucker Collection, Los Angeles, California. vii PLATE PAGE XVI. Production still from Million Dollar Pictures' Straight to Heaven (1938) ............................. 144 XVII. Production team in support of A. Philip Randolph's "March on Washington," 1942 ............................. 147 XVIII. Sgt. Lorenzo Tucker, U.S. Army Air Corps, 1944 .... 152 XIX. Lobby poster from Sepia Productions' One-Round Jones (1946) ............................................. 156 XX. Lobby poster from Astor Pictures' Reet-Petite and Gone (1-947)............................................... 158 XXI. Production still from Anna Lucasta stage tour of British Isles, 1953-54 165 XXII. Lorenzo Tucker and Milton Helpren, Chief Medical Examiner of New York City, 1973 .......................... 176 XXIII. Lorenzo Tucker and Paulina Segura Tucker, 1983 .... 183 XXIV. Lorenzo Tucker
Recommended publications
  • IF THOSE WALLS COULD ONLY SPEAK by Harry Stein*

    IF THOSE WALLS COULD ONLY SPEAK by Harry Stein*

    IF THOSE WALLS COULD ONLY SPEAK by Harry Stein* ______________________________________________________________ [This article appeared in the Summer/Autumn 1986 edition of Jazz Magazine.] f those walls at 104 Queensberry Street, North Melbourne, where Australia’s first Jazz Convention was held in 1946, could only speak! What would they say? It I would have to be a mixture of vaudeville tunes, revival hymns, socialist politics and hot jazz licks. The hall was built as a vaudeville theatre in 1874 but before the turn of the century became the home of the first Pentecostal Assembly of Australia. Every weekday and Sunday there were prayer meetings, while on Thursdays they held a “tarrying The Eureka Hall, photographed in October, 1985: its official name was the Betty Sutherland Memorial Hall… _______________________________________________________________ *In 1986 the late Harry Stein was a Sydney journalist. In the 1940s, he was the President of the Eureka Hot Jazz Society, under whose auspices the first Australian Jazz Convention was held in 1946. He was also President of the Convention. He was the initiator of the Graeme Bell Band’s first trip to Europe in 1947 and managed the band until the end of the first World Youth Festival in Prague. 1 meeting” to allow the congregation to receive the baptism of the Holy Spirit. What else could they name it but the Good News Hall! A press article of the day delightfully described their gatherings as “Holy Rolling at the Good News Hall”. When the British socialist Tom Mann arrived in Australia in 1902, he was banned from speaking in every public hall.
  • Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement

    Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement

    Bearing the Seeds of Struggle: Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement Ian Rocksborough-Smith BA, Simon Fraser University, 2003 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS In the Department of History O Ian Rocksborough-Smith 2005 SIMON FRASER UNIVERSITY Summer 2005 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Ian Rocksborough-Smith Degree: Masters of Arts Title of Thesis: Bearing the Seeds of Struggle: Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement Examining Committee: Chair: Dr. John Stubbs ProfessorIDepartment of History Dr. Karen Ferguson Senior Supervisor Associate ProfessorIDepartment of History Dr. Mark Leier Supervisor Associate ProfessorIDepartment of History Dr. David Chariandy External ExaminerISimon Fraser University Assistant ProfessorIDepartment of English Date DefendedlApproved: Z.7; E0oS SIMON FRASER UNIVERSITY PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies.
  • Digital Humanities

    Digital Humanities

    Miriam Posner Digital Humanities Chapter 27 DIGITAL HUMANITIES Miriam Posner Digital humanities, a relative newcomer to the media scholar’s toolkit, is notoriously difficult to define. Indeed, a visitor to www.whatisdigitalhumanities.com can read a different definition with every refresh of the page. Digital humanities’ indeterminacy is partly a function of its relative youth, partly a result of institutional turf wars, and partly a symptom of real disagreement over how a digitally adept scholar should be equipped. Most digital humanities practitioners would agree that the digital humanist works at the intersection of technology and the humanities (which is to say, the loose collection of disciplines comprising literature, art history, the study of music, media studies, languages, and philosophy). But the exact nature of that work changes depending on whom one asks. This puts the commentator in the uncomfortable position of positing a definition that is also an argument. For the sake of coherence, I will hew here to the definition of digital humanities that I like best, which is, simply, the use of digital tools to explore humanities questions. This definition will not be entirely uncontroversial, particularly among media scholars, who know that the borders between criticism and practice are quite porous. Most pressingly, should we classify scholarship on new media as digital humanities? New media scholarship is vitally important. But a useful classification system needs to provide meaningful distinctions among its domains, and scholarship on new media already has a perfectly good designation, namely new media studies (as outlined in Chapter 24 in this volume). So in my view, the difference between digital humanities and scholarship about digital media is praxis: the digital humanities scholar employs and thinks deeply about digital tools as part of her argument and research methods.
  • Billie's Message: an Original Dance-Drama in the Modern Dance Idiom

    Billie's Message: an Original Dance-Drama in the Modern Dance Idiom

    UNLV Retrospective Theses & Dissertations 1-1-1990 Billie's Message: An original dance-drama in the modern dance idiom Vicki Lynn Dale University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Dale, Vicki Lynn, "Billie's Message: An original dance-drama in the modern dance idiom" (1990). UNLV Retrospective Theses & Dissertations. 30. http://dx.doi.org/10.25669/f8vl-dzbd This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from.the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.
  • ELLA BAKER, “ADDRESS at the HATTIESBURG FREEDOM DAY RALLY” (21 January 1964)

    ELLA BAKER, “ADDRESS at the HATTIESBURG FREEDOM DAY RALLY” (21 January 1964)

    Voices of Democracy 11 (2016): 25-43 Orth 25 ELLA BAKER, “ADDRESS AT THE HATTIESBURG FREEDOM DAY RALLY” (21 January 1964) Nikki Orth The Pennsylvania State University Abstract: Ella Baker’s 1964 address in Hattiesburg reflected her approach to activism. In this speech, Baker emphasized that acquiring rights was not enough. Instead, she asserted that a comprehensive and lived experience of freedom was the ultimate goal. This essay examines how Baker broadened the very idea of “freedom” and how this expansive notion of freedom, alongside a more democratic approach to organizing, were necessary conditions for lasting social change that encompassed all humankind.1 Key Words: Ella Baker, civil rights movement, Mississippi, freedom, identity, rhetoric The storm clouds above Hattiesburg on January 21, 1964 presaged the social turbulence that was to follow the next day. During a mass meeting held on the eve of Freedom Day, an event staged to encourage African-Americans to vote, Ella Baker gave a speech reminding those in attendance of what was at stake on the following day: freedom itself. Although registering local African Americans was the goal of the event, Baker emphasized that voting rights were just part of the larger struggle against racial discrimination. Concentrating on voting rights or integration was not enough; instead, Baker sought a more sweeping social and political transformation. She was dedicated to fostering an activist identity among her listeners and aimed to inspire others to embrace the cause of freedom as an essential element of their identity and character. Baker’s approach to promoting civil rights activism represents a unique and instructive perspective on the rhetoric of that movement.
  • The Minstrel Legacy: African American English and the Historical Construction of “Black” Identities in Entertainment

    The Minstrel Legacy: African American English and the Historical Construction of “Black” Identities in Entertainment

    Africana Studies Faculty Publications Africana Studies 12-2015 The insM trel Legacy: African American English and the Historical Construction of "Black" Identities in Entertainment Jennifer Bloomquist Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/afsfac Part of the African American Studies Commons, Film and Media Studies Commons, and the Linguistics Commons Share feedback about the accessibility of this item. Bloomquist, Jennifer. "The inM strel Legacy: African American English and the Historical Construction of "Black" Identities in Entertainment." Journal of African American Studies 19, no. 4 (December 2015). 410-425. This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/afsfac/22 This open access article is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. The insM trel Legacy: African American English and the Historical Construction of "Black" Identities in Entertainment Abstract Linguists have long been aware that the language scripted for "ethnic" roles in the media has been manipulated for a variety of purposes ranging from the construction of character "authenticity" to flagrant ridicule. This paper provides a brief overview of the history of African American roles in the entertainment industry from minstrel shows to present-day films. I am particularly interested in looking at the practice of distorting African American English as an historical artifact which is commonplace in the entertainment industry today.
  • George P. Johnson Negro Film Collection LSC.1042

    George P. Johnson Negro Film Collection LSC.1042

    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
  • Archivists & Archives of Color Newsletter

    Archivists & Archives of Color Newsletter

    ~Archivists & Archives of Color Newsletter~ Newsletter of the Archivists and Archives of Color Roundtable Vol. 19 No. 2 Fall/Winter 2005 Message from the Co-Chair Greetings from the New Editor! By Teresa Mora By Paul Sevilla It was only a few months ago that SAA gathered in New I feel very excited to serve as the new editor of the AAC Orleans for its 69th Annual Meeting. Little did we know at newsletter. One of my goals is to bring to readers articles that the time that the area would soon be devastated by Hurricane are interesting, informative, and inspiring. With help and Katrina. Many of our AAC friends and colleagues were support from my assistant editor, Andrea, we shall ensure that affected by the hurricane that hit the gulf coast. Rebecca this newsletter continues to represent the voices of our diverse Hankins offered family shelter in Texas, and, in an article on membership. the next page, Brenda B. Square at the Amistad Research Center updates us on Tulane’s situation. We have all read I became a member of SAA in my first year as an MLIS reports of the damage, and our thoughts are with all those who student in the Department of Information Studies at UCLA. hail from the area, especially with our colleagues and the As one of the recipients of this year’s Harold T. Pinkett unique collections, which many of us had been so fortunate to Minority Student Award, I had the privilege of attending the just see. conference in New Orleans and meeting the members of AAC.
  • Sample Pages

    Sample Pages

    About This Volume James Plath Critical Insights: Casablanca contains fourteen essays from pop FXOWXUHVFKRODUVDQG¿OPFULWLFVDORQJZLWKLQWURGXFWRU\HVVD\VRQ WKH ¿OP LWV GLUHFWRU DQG D UHVRXUFH VHFWLRQ FRQWDLQLQJ D JHQHUDO ELEOLRJUDSK\ GLUHFWRU¶V FKURQRORJ\¿OPRJUDSK\ FDVW OLVW DZDUGV and honors, and the volume’s contributors … to whom I am grateful. Casablanca has received both popular and critical acclaim over the years, and in that spirit Critical Insights: Casablanca is LQWHQGHGDVERWKDFRPSDQLRQIRUVHULRXV¿OPIDQVDQGDUHVRXUFH for students and scholars. No single volume on any movie can be FRPSOHWHEHFDXVHWKHEHVW¿OPV²WKHclassic¿OPV²DOZD\V\LHOG up things to say, year after year. Not surprisingly, much has been written already about CasablancaDVWKHELEOLRJUDSK\DWWHVWV7KH essays contained in this volume add to the critical “conversation” in, I hope, provocative ways. Some overlapping is unavoidable, but LQGLYLGXDOO\WKHVHHVVD\VDSSURDFKWKH¿OPIURPGLIIHUHQWDQJOHV collectively they help to explain why Casablanca is so highly UHJDUGHG²VWLOORUGHVSLWHLWVÀDZV²DQGZK\LWZLOOOLNHO\UHPDLQ so. Certain themes begin to resonate among the essays, as contributors consider whether Casablanca was, in fact, the “happiest of happy accidents” that critic Andrew Sarris posited and try to LGHQWLI\WKHUHDVRQVIRULWVVXFFHVV7KHLVVXHRIDXWHXULVPFRPHV up a number of times, with varying opinions over the amount of credit due director 0LFKDHO&XUWL]²WKRXJKQRQHRIWKHFRQWULEXWRUV GLVSXWHVWKH¿OP¶V²RU&XUWL]¶V²JUHDWQHVV ,Q KHU HVVD\ RQ ³7LSV RI WKH +DW 7KH &ULWLFDO 5HVSRQVH to Casablanca´ %UHQQDQ 0 7KRPDV QRWHV WKDW Casablanca SHUIRUPHGZHOODWWKHER[RI¿FHSDUWO\EHFDXVHRIIRUWXLWRXVWLPLQJ Early reviewers remarked that :DUQHU %URV ZDV HLWKHU OXFN\ RU SUHVFLHQWJLYHQWKDWWKH¿OP¶VSUHPLHUHFDPHOHVVWKDQWKUHHZHHNV after Casablanca, Morocco, was captured by Allied forces and the vii ¿OP¶VVXEVHTXHQWZRUOGZLGHUHOHDVHFRLQFLGHGZLWKWKH&KXUFKLOO Roosevelt meetings in Casablanca. But timing wasn’t everything.

  • Charlotte Motor Speed- Take Every Win That’S Available, His Performance Sheet 3

    The Daytona Beach News-Journal’s Godwin Kelly & Ken Willis have covered NASCAR for nearly 60 years combined. godwin.kelly@ NASCAR THIS WEEK news-jrnl.com [email protected] SPEED FREAKS QUESTIONS & ATTITUDE A few questions we had to ask ourselves Compelling questions ... and PHOENIX maybe a few actual answers Your knee-jerk review of Vegas and results of the “new THREE THINGS TO WATCH Is that a look of concern? package”? GODSPEAK: It’s a work in 1. Penske power Let’s call it a mix of mild concern, progress. Drivers have more car balanced by a hesitance to offer control, and there have been It sure looks like Team snap judgment. I tuned into Sun- fewer wrecks. Give it time. Penske has found the day’s race, saw a big pack of cars KEN’S CALL: If it seemed perfect secret key to the new slicing and dicing, and said, “See, at the start, the engineers NASCAR package — two that’s exactly what NASCAR was would eventually mess it up. But wins by two drivers on looking for with the new con- it seems imperfect at the start, consecutive weekends. figurations.” Then I looked in the so maybe the engineers will find Joey Logano credited corner of the screen and realized a way to tighten up the field. Ford’s engineers for solv- it was just the second lap of Reverse psychology, right there. ing the puzzle. “Everyone a green-flag run. By Lap 10, it is going through a learn- became the Urban Meyer 400 — Kez, then Joey.
  • • Interview with Lorenzo Tucker. Remembering Dorothy Dandridge. • Vonetta Mcgee • the Blaxploitation Era • Paul Robeson •

    • Interview with Lorenzo Tucker. Remembering Dorothy Dandridge. • Vonetta Mcgee • the Blaxploitation Era • Paul Robeson •

    • Interview with Lorenzo Tucker. Remembering Dorothy Dandridge. • Vonetta McGee • The Blaxploitation Era • Paul Robeson •. m Vol. 4, No.2 Spring 1988 ,$2.50 Co-produced with the Black Film Institute of the University of the District of Columbia .,.... ~. .# • ...-. .~ , .' \ r . t .• ~ . ·'t I !JJIII JlIf8€ LA~ ~N / Ul/ll /lOr&£ LAlE 1\6fJt1~ I WIL/, ,.,Dr 8~ tATE /lfVll" I h/ILl kif /J£ tlf1E M/tl# / wlU ~t11' BE 1II~ fr4lt11 I k/Ilt- /V6f Ie tJ]1f. 1t6/tlfV _ I WILL No~ ~'% .,~. "o~ ~/~-_/~ This is the Spring 1988 issue of der which we mail the magazine, the Black Fzlm Review. You're getting it U.S. Postal Service will not forward co- ~~~~~ some time in mid 1988, which means pies, even ifyou've told them your new',: - we're almost on schedule. - address. You need to tell us as well, be- \ Thank you for keeping faith with cause the Postal Service charges us to tell us. We're going to do our best not to us where you've gone. be late. Ever again. Third: Why not buy a Black Fzlm Without your support, Black Fzlm Review T-shirt? They're only $8. They Review could not have evolved from a come in black or dark blue, with the two-page photocopied newsletter into logo in white lettering. We've got lots the glossy magazine it is today. We need of them, in small, medium, large, and your continued support. extra-large sizes. First: You can tell ifyour subscrip­ And, finally, why not make a con­ tion is about to lapse by comparing the tribution to Sojourner Productions, Inc., last line of your mailing label with the the non-profit, tax-exempt corporation issue date on the front cover.
  • Tributaries on the Name of the Journal: “Alabama’S Waterways Intersect Its Folk- Ways at Every Level

    Tributaries on the Name of the Journal: “Alabama’S Waterways Intersect Its Folk- Ways at Every Level

    Tributaries On the name of the journal: “Alabama’s waterways intersect its folk- ways at every level. Early settlement and cultural diffusion conformed to drainage patterns. The Coastal Plain, the Black Belt, the Foothills, and the Tennessee Valley re- main distinct traditional as well as economic regions today. The state’s cultural landscape, like its physical one, features a network of “tributaries” rather than a single dominant mainstream.” —Jim Carnes, from the Premiere Issue JournalTributaries of the Alabama Folklife Association Joey Brackner Editor 2002 Copyright 2002 by the Alabama Folklife Association. All Rights Reserved. Issue No. 5 in this Series. ISBN 0-9672672-4-2 Published for the Alabama Folklife Association by NewSouth Books, Montgomery, Alabama, with support from the Folklife Program of the Alabama State Council on the Arts. The Alabama Folklife Association c/o The Alabama Center for Traditional Culture 410 N. Hull Street Montgomery, AL 36104 Kern Jackson Al Thomas President Treasurer Joyce Cauthen Executive Director Contents Editor’s Note ................................................................................... 7 The Life and Death of Pioneer Bluesman Butler “String Beans” May: “Been Here, Made His Quick Duck, And Got Away” .......... Doug Seroff and Lynn Abbott 9 Butler County Blues ................................................... Kevin Nutt 49 Tracking Down a Legend: The “Jaybird” Coleman Story ................James Patrick Cather 62 A Life of the Blues .............................................. Willie Earl King 69 Livingston, Alabama, Blues:The Significance of Vera Ward Hall ................................. Jerrilyn McGregory 72 A Blues Photo Essay ................................................. Axel Küstner Insert A Vera Hall Discography ...... Steve Grauberger and Kevin Nutt 82 Chasing John Henry in Alabama and Mississippi: A Personal Memoir of Work in Progress .................John Garst 92 Recording Review ........................................................